mony in the wood-wind
should form an independent whole, receiving no assistance from the
bass; in this manner intervals of open fourths and fifths will be
obviated. In the second case it is desirable to provide the
intermediate parts with a moderately full tone, choosing no other
intervals except seconds, sevenths, thirds or sixths.

All that has been said with regard to the use of wood-wind in the
formation of harmony, and the division of simple and mixed timbres
applies with equal force to sustained chords, or harmonic progressions
interchanging rapidly with _staccato_ chords. In short chords,
separated by rests of some importance, the arrangement and division of
timbres is not so perceptible to the ear, and progression of parts
attracts less attention. It would be useless, nay, impossible to
examine the countless combinations of tone colour, all the varieties
of duplication and distribution of chords. It has been my aim to
denote the fundamental principles upon which to work, and to indicate
the general rules to be followed. Once having mastered these, if the
student devote a little time to the study of full scores, and listen
to them on the orchestra, he will soon learn when certain methods
should be used and when to adopt others. The pupil is advised,
generally, to write for wood-wind in its normal order of distribution,
to take heed that each particular chord is composed entirely either of
duplicated or non-duplicated parts, (except in certain cases resulting
from progression), to use the methods of crossing and enclosure of
timbres with full knowledge of what he is doing, and finally to
concentrate his attention on close part-writing.

_Examples of wood-wind harmony:_

a) Independent chords.

No. 105. _The Christmas Night_ [[148]]--Cl., 2 Fag.

No. 106. " " " beginning--Ob., Cl., Fag. (crossing
of parts).

_Snegourotchka_ [[16]]--2 Cl., Fag.

" [[79]], 5th bar.--2 Ob., 2 Fag. (cf. Ex. 136).

* No. 107. _Snegourotchka_ [[197]]--Picc., 2 Fl. (_tremolando_).

No. 108. " [[204]]--2 Fl., 2 Ob. (high register).

No. 109. _Sheherazade_, beginning--Total wood-wind in different
distribution.

* _Russian Easter Fete_ [[A]]--3 Fl. _tremolando_ (cf. Ex. 176).

* _Tsar Saltan_ [[45]] Ob., 2 Fag.

No. 110. _Tsar Saltan_, before [[115]]--mixed timbres.

No. 111. " " [[115]], and other similar passages--very